Grateful Dead Live at Cameron Indoor Stadium on 1978-04-12
- Grateful Dead
- DeadLists Project
Jack Straw, Dire Wolf, Beat It On Down The Line, Peggy-O, Mama Tried > Mexicali Blues, Finiculi Finicula, Row Jimmy, Minglewood Blues, Loser, Lazy Lightning > Supplication
Bertha > Good Lovin', It Must Have Been The Roses, Estimated Prophet > Eyes Of The World > Drums > Truckin' > Wharf Rat > Around & Around
E: U.S. Blues
Related Music question-dark
Versions - Different performances of the song by the same artist
Compilations - Other albums which feature this performance of the song
Covers - Performances of a song with the same name by different artists
|Beat It on Down the Line|
|New Minglewood Blues|
|It Must Have Been the Roses|
|Eyes Of The World|
|Around And Around|
SBD + AUD Matrix 2 Source Mix(51%-SBD/49%-AUD)
For the matrix only, the Soundboard patches in both Eyes and Wharf Rat/Around & Around listed above used the audio from the video to ensure no phase problems.
- Mixed by email@example.com
- FLAC conversion 07-NOV-2015 - Trader Little Helper
- Tagged 07-NOV-2015 - Tag&Rename
Multitrack Mixdown Settings
SBD + 0.5
SBD + 0.5
Brokedown House Production
- 2015-11-22 04:56:02
- Durham, NC
- Run time
- Matrix 2 Source Mix - SBD (shnid=107256) Recording Info:SBD -> Master Reel -> PCM -> Dat (44.1k); Transfer Info:Dat (Sony R500) -> Sound Devices 744T -> Samplitude Professional v11.03 -> FLAC; All Transfers and Mastering By Charlie Miller + AUD (shnid=105875) Recording Info:(FOB) Sony 54P -> Cassette Master (Sony TC-158); Transfer Info:Cassette Master (Tascam 122mkII) -> Apogee MiniMe (24bit/48k) -> Samplitude Professional v11.03 -> FLAC/16; Recorded By Robert Wagner; All Transfers and Mastering By Charlie Miller - matrix mixing by Kevin Tobin
- Transferred by
- Kevin Tobin
- Cameron Indoor Stadium
Subject: Great Show. Killer Matrix!
Kevin did a beautiful job on this matrix. Having Betty produce half of it makes all the dif with Evan being correct about the instrument separation and the brightness. And for an added bonus, Donna sounds good.
And Wow! Speaking of blistering: Bertha > Good Lovin' is crazy powerful right out of the box! It pulled me right out of my chair to dance. Truckin' is very good with a sweet WR. And one nice extra is having the ability to cleanly segue U.S. Blues from WR in music editing. Makes for an energetic 2nd set.
And oh yeah, did I say this was a killer matrix? Ah, well, yes I did! Along with Betty performing her usual magic to the board, Bob Wagner did a marvelous job of keeping his finger off the pause button. Cause you get the whole show from start to finish. And that is a big, big plus! You have no idea how appreciative I am, Mr. Wagner, that you were sparing of that. The only addition I needed to provide my finicky ol’ self with for the ultimate sound was some reverb for the board to match the softness of the crowd, making for a primo, DFC 20th row FOB substitute. I keep five stars for an above average - pre '83 - show and a great matrix. And this is one of them. This skirts "X" factor boys and girls. And yes, Evan, they are having a lot of fun!
Subject: Peggy-O and other Tidbits; Dynamics
This was an amazing SBD for the era. There is considerable separation of the instruments which makes for a well-defined presence -- a delicious but indescribable ambience. Both drummers are prominent as is the keyboards and rhythm guitar -- the latter two often seemed lost in most live recordings of the latter half of the 70's, but not on this night.
Concerning the performance: A little sloppy at times but overall very spirited -- especially Jerry's roaring guitar AND vocals. How the man could alternate sing sweet lead with screaming vocals and sprinkle in his tasty fills and swirls on guitar is beyond description. In 60 years of listening to pop music I have heard nothing that has compared. Oh, there are technically finer guitarists and certainly there are better singers, but to me no one exhibits as much heart. The Wharf Rat delivered on this night was so poignant that you could sense the subject's unavoidable doom. He is singing that he'll get back on his feet someday but you know he won't. There is just no way he can. He has gone too far down the drain to be snatched from death.
What I believe sets this band apart from the rest is their marvelous ability to achieve breathtaking dynamics. When Jerry comes out of a superb triple guitar solo in Peggy-O the transition back into the verse is so subtle that the audience abstains from its typical reaction of applause and hooting. The result is the sweetest quiet interlude imaginable. The listener is sitting there on his couch with Jerry next to him on a chair in the living room.
Throughout the entire show the recording reveals numerous dynamic changes where the instrumentation is blasting one moment and then drops down to beautiful quietude for the lyric. For the most part the lyrics are so intelligible that you can hear subtle changes in enunciation -- a tremendous feat in rock and roll which is normally given to drowning lyrics with overblown instrumentation.
Speaking of instrumentation, like some reviewers mention in other reviews of this show, the piano often can seem like it's lost but it's not lost at all. It's really quite outfront harmonizing with the bass and rhythm guitar. What was captured on this night was a very lush sound of the keyboards. The electric piano is gloriously powerful and the grand piano has such a deep resonance that it surprises. Usually I don't pick up Keith's piano playing as well as I'd like, but on this night he was right there the whole time. Listening to this show gives me an entirely different impression of Keith's contribution to the band's sound. He was outstanding.
This reviewer has read thousands of these Archive reviews of GD Concerts and many reviewers have sited a good show as one that plays good versions of the songs they want to hear. But this show, like a number of others from 1977 and early 78 feature exciting renditions of the songs that many Dead fans don't care for, like Minglewood Blues and Peggy-O. The GD in this era were so hot and animated that they even made their clunkers like Me and My Uncle and Mexicali Blues sound great. Many listeners fault 1978 as being overly predictable and, indeed, that theory does hold water. They were predictable like when they would couple Bertha with Good Loving. However, some of these versions are so hot it really didn't matter what they played.
Like 1977,1978 was a year that had some memorably hot shows. The band was excited to hit the stage and you can hear it in their performances of those years. The evidence is plainly heard in those moments when Jerry gets so full of himself that he slops it out. I didn't mind this at all. I don't like performances that are carbon copies of the night before. I like a band that takes chances. 77 and 78 were my favorite years for this because the band appeared to be full of piss and vinegar. It seemed, after their two and a half year hiatus, that they couldn't wait to get onstage. I witnessed some of those shows and was blown away. However, it seemed like the luster wore off in the latter half of 1978 and the band never really re-captured that old time fire but here and there.
What I consider to be a great Grateful Dead show is one in which they sound like they are having a lot of fun.
This show I believe is one of the bands greatest. It was one such night in which they sounded like they were having a lot of fun.
Thanks to Kevin Tobin and all the others that lent a hand to put this show up on the Archives. It is a job well done and much appreciated.